ASHER  BENJAMIN 


Digitized  by  the  Internet  Archive 

in  2013 


http://archive.org/details/reprintofcountryOObenj 


ASHER  BENJAMIN 


A  REPRINT  OF 

THE  COUNTRY  BUILDER'S  ASSISTANT  THE  RUDIMENTS  OF  ARCHITECTURE 

THE  AMERICAN  BUILDER'S  COMPANION  THE  PRACTICAL  HOUSE  CARPENTER 

PRACTICE  OF  ARCHITECTURE 


By 

ASHER  BENJAMIN 


Plates  and  Text  Selected  and  Edited  By 
Aymar  Embury  II,  Architect 


NEW  YORK 

THE    ARCHITECTURAL    BOOK   PUBLISHING  COMPANY 
Paul  Wenzel  and  Maurice  Krakow 

MCMXVII 


Copyright  1917,  by 
Paul  Wenzel  and  Maurice  Krakow 
New  York 


GETTV  CENTER  UBRAPV 


CONTENTS 


PAGE 

Introduction   1 

(From  "The  Country  Builder's  Assistant" ') 

Title  Page    5 

Editor's  Note    6 

Titles  and  Descriptions  of  Plates   7-  9 

Plates   11-41 

(From  "The  American  Builder's  Companion" ) 

Title  Page    43 

Editor's  Note    44 

Recommendation    45 

Preface    47-  48 

Of  Base  and  Sur-base  Mouldings  and  Architraves    49 

Remarks  on  Cornices    49 

Remarks  on  Ceilings    51 

Plates    53-95 

(From  "The  Rudiments  of  Architecture" ) 

Title  Page    97 

Editor's  Note    98 

Of  the  Orders  of  Architecture  and  Embellishments    99 

Titles  of  Plates    101 

Plates    103-113 

(From  "The  Practical  House  Carpenter" ) 

Title  Page    115 

Editor's  Note    116 

Preface    117 

Plate  Descriptions    118 

Plates    119-135 

(From  "Practice  of  Architecture" ) 

Title  Page    137 

Editor's  Note    138 

Preface    139 

Plate  Titles    140 

Plates    141-169 

VII 


LIST   OF  PLATES 

(From  "The  Country  Builder's  Assistant")  PAGE 

Plate  1 — Architraves  and  Moldings    11 

Plate  2 — Proportions  of  Orders    11 

Plate  3 — Tuscan  Order    13 

Plate  4 — Doric  Order    13 

Plate  5 — Ionic  Order    15 

Plate  6 — Ionic  Volute    15 

Plate  7 — Corinthian  Order    17 

Plate  8 — Plane eres  of  Cornices    17 

Plate  9 — Pedestals    19 

Plate  10— Pedestals    19 

Plate  12 — Fronts    21 

Plate  13 — Fronts    21 

Plate  14 — Door  Details   23 

Plate  15 — Sash  Details    23 

Plate  16 — Cornices    25 

Plate  17 — Cornices    25 

Plate  18 — Cornices    27 

Plate  19 — Pedestal  Moldings    27 

Plate  20 — Imposts  and  Urns   29 

Plate  21 — Chimney piece    31 

Plate  22 — Chimneypiece    31 

Plate  23 — Chimneypiece    33 

Plate  24 — Chimneypiece    33 

Plate  25 — Caged  Newel    35 

Plate  28 — Raking  Cornice    29 

Plate  31 — Plan  of  Countryhouse   37 

Plate  32 — Elevation  of  Countryhouse    37 

Plate  33 — Design  for  a  Meetinghouse    39 

Plate  34 — Fences    41 

(From  "The  American  Builder's  Companion) 

Plate  11 — Base  Moldings    53 

Plate  12 — Cornices    55 

Plate  13 — Cornices    57 

Plate  14 — Fancy  Cornices    59 


VIII 


4SHER  BENJAMIN 


PAGE 

Plate  15 — Of  Cornices   61 

Plate  16 — Doors  and  Fan  Lights   63 

Plate  17 — Windows    65 

Plate  18 — Windows    67 

Plate  27 — Ceilings    69 

Plate  28 — Fragments  for  Chimneypieces    71 

Plate  29 — Doorways    73 

Plate  30 — Doorways    75 

Plate  31 — Key  blocks    77 

Plate  32 — Banisters  and  Urns  t   79 

Plate  33 — A  Townhouse   81 

Plate  35 — A  Townhouse   83 

Plate  36 — A  Townhouse   85 

Plate  38 — A  Meetinghouse    87 

Plate  39 — A  Meetinghouse   89 

Plate  40 — A  Summerhouse    91 

Plate  41—^  Pulpit    93 

Plate  42 — A  Courthouse    95 

(From  "The  Rudiments  of  Architecture" ) 

Plate    9 — Designs  for  Moldings    103 

Plate  10 — Designs  for  Moldings    103 

Plate  11 — Grecian  Moldings    105 

Plate  13 — Doric  Order    105 

Plate  14 — Ionic  Order   107 

Plate  15 — Corinthian  Order    107 

Plate  23 — Keyblocks,  Urns  and  Balusters    109 

Plate  25 — Imposts  and  Architraves    109 

Plate  26 — A  Tuscan  Front   Ill 

Plate  21— A  Doric  Front    Ill 

Plate  28 — Cornices   113 

Plate  29 — Designs  for  Base  Moldings    113 

(From  "The  Practical  House  Carpenter" ) 

Plate  25 — Keystones  and  Balusters   119 

Plate  26— Urns    121 

Plate  30 — Ionic  Portico    123 

Plate  32 — A  Dormer  Window   125 

Plate  34 — Eave  Cornices   127 


IX 


ASHER  BENJAMIN 


PAGE 


Plate  45 — Designs  for  Architraves   129 

Plate  46 — Architraves    131 

Plate  47 — Architraves    133 

Plate  49 — A  Chimney  piece    135 

(From  "The  Practice  of  Architecture" ) 

Plate  10— The  Doric  Order   141 

Plate  11— The  Doric  Order   143 

Plate  30 — A  Portico    145 

Plate  32 — A  Portico    147 

Plate  33 — Cornices    149 

Plate  34 — Cornices    151 

Plate  35 — Cornices    153 

Plate  36 — Cornices    155 

Plate  38 — Architraves    157 

Plate  44 — Base  Moldings    159 

Plate  45 — Vases   161 

Plate  46 — Ornamental  Moldings   163 

Plate  53 — Elevation  for  a  Church    165 

Plate  54 — Side  Elevation  for  a  Church    167 

Plate  S6—A  Pulpit    169 


X 


INTRODUCTION 


NY  art  movement  begins  in  an  uncertain  and  hesitating  way,  by  experimentation  with  more 


tallize  into  definite  proportions,  and  at  the  apogee  of  the  period  the  principles  which  underlie  it  are  clearly 
understood  and  their  expression  firmly  established.  Following  the  apogee  in  most  art  movements  is  the 
decline,  when  true  proportions  are  forgotten  in  overdecoration  of  the  motives  and  the  principles  are  neg- 
lected for  scenic  effect.  The  Colonial  period  was  in  every  sense,  a  distinct  art  movement,  yet  one  which 
differed  from  most  others  in  that  at  its  very  height  it  was  cut  short  by  a  sudden  influx  of  new  motives 
and  theories  which  resulted  in  the  very  different  type  of  architectural  work  now  known  as  the  Classic 


It  is  true  that  the  United  States  ceased  to  be  "Colonial"  about  ten  years  before  the  beginning  of 
the  nineteenth  century,  but  the  change  of  the  style  of  its  architecture  was  not  coincidental  with  the 
change  of  its  political  life  and  was  only  begun  after  the  monumental  work  of  Stuart  and  Revett  had 
become  familiar  to  American  architects  and  draftsmen.  The  work  of  the  Colonial  period  was  prob- 
ably at  no  time  so  intelligently  and  so  thoroughly  understood  as  during  the  first  few  years  of  the 
nineteenth  century,  and  it  was  precisely  during  these  first  few  years  that  Asher  Benjamin  produced  the 
first  two  of  his  books,  and  in  no  other  way  can  the  spirit  of  Colonial  work  be  so  completely  compre- 
hended as  by  an  examination  of  his  work. 

He  was  a  practicing  architect  as  well  as  a  writer  on  architectural  subjects  and  his  executed  build- 
ings are  emphatic  though  mute  testimony  to  the  correctness  of  his  theories,  to  the  delicacy  of  his  detail 
and  to  the  soundness  of  his  design,  while  the  fascinating  series  of  drawings  with  which  he  illustrates 
his  books  are  of  the  utmost  practical  benefit  to  the  architect  or  draftsman  of  to-day.  He  was  not  only 
sound,  technically,  but,  as  will  be  seen  from  the  extracts  from  his  work  which  are  interspersed  among 
the  illustrations  of  this  volume,  a  man  of  acute  artistic  perception  and  sound  common  sense,  and 
the  principles  which  he  expounds  might  well  become  maxims  for  the  guidance  of  our  architects  at  the 
present  time. 

His  books  are  five  in  number;  four  of  them  are  referred  to  in  the  "Georgian  Period"  in  the 
list  of  books  used  by  the  early  American  architects,  and  half  a  dozen  plates  from  the  first  of  them 
figure  as  one  of  the  illustrations  for  that  most  admirable  work.  It  was  there  that  I  first  learned 
of  the  existence  of  Asher  Benjamin  and  when,  by  what  still  seems  to  me  a  phenomenal  piece  of 
good  fortune,  I  was  able  to  secure  a  full  set  of  his  publications  from  the  estate  of  Mr.  Lowe,  a  long 
deceased  architect  of  Eastport,  Maine,  I  purchased  them  more  from  curiosity  than  from  any  belief 
that  they  would  be  of  the  enormous  practical  use  that  they  have  proven  to  me. 

Believing  that  they  will  be  of  no  less  use  to  other  men  interested  in  the  sources  of  Colonial 
work,  I  very  gladly  accepted  the  offer  of  the  Architectural  Book  Publishing  Company  to  reprint 


or  less  familiar  forms  and  an  attempt  to  revise  and  fit  them  to  the  needs  of  the  time. 
As  the  movement  grows  older  it  gains  strength,  becomes  more  systematic,  the  forms  crys- 


Revival. 


1 


ASHER  BENJAMIN 


them  in  a  form  which  would  be  not  only  interesting  to  lovers  of  the  literature  of  Colonial  archi- 
tecture, but  also  suitable  to  the  draftingroom,  and  I  have  chosen  from  the  first  three  volumes  all 
plates  which  were  not  descriptions  of  the  practical  geometry  necessary  to  the  carpenter,  or  which 
were  not  duplications  in  the  other  volumes.  From  the  last  two  volumes,  which  were  concerned  with 
the  work  of  the  Greek  Revival,  I  have  selected  a  few  of  the  more  interesting  plates  to  show  the 
character  of  the  books,  and  have  omitted  the  many  illustrations  of  the  Greek  orders,  mainly  copies 
from  Stuart  and  Revett,  and  much  other  material  which  seems  at  present  to  be  chiefly  of  interest  to 
the  connoisseur  of  the  Greek  Revival.  Asher  Benjamin  was  by  no  means  as  skilful  in  his  adapta- 
tions of  the  Greek  motives  to  conditions  of  American  life,  as  he  was  in  his  designs  which  followed 
the  Colonial  precedent  in  which  he  was  evidently  trained,  and  it  is  probable  too,  that  during  the 
thirty-seven  years  which  elapsed  between  the  publication  of  his  first  and  last  books,  he  had  lost 
something  of  his  brilliant  ability  in  design.  Hence  the  later  two  of  his  books  are  far  below  the 
extraordinarily  high  standard  of  the  first  three. 

His  books  were  apparently  extensively  distributed  among  the  carpenter  builders  of  the  begin- 
ning of  the  nineteenth  century  and  a  number  of  examples  of  work  which  was  either  designed  by  him 
or  copied  from  the  designs  in  his  books,  are  still  remaining,  notably  the  First  Congregational 
Church  at  Bennington,  Vermont,  built  in  1806,  which  is  evidently  reproduced  from  Plate  33  of 
the  "Country  Builder's  Assistant,"  and  the  First  Parish  Church  of  Bedford,  Massachusetts,  which 
is  an  almost  exact  copy  of  Plate  39  in  the  "American  Builder's  Companion."  I  have  found  several 
other  churches  still  extant  and  some  which  have  been  destroyed,  which  were  copied  from  various 
plates  published  in  the  Asher  Benjamin  books  and  while  I  have  found  fewer  country  houses  which 
were  obviously  taken  from  his  illustrations,  I  am  inclined  to  believe  that  much  more  work  was 
exactly  executed  after  his  designs  than  I  know  about,  principally  because  country  houses  lack  the 
outstanding  character  of  church  buildings  and  are  not  so  readily  recognized. 

It  is  even  more  difficult  to  determine  the  exact  effect  of  his  designs  upon  the  detail  of  the  late 
Colonial  work,  and  almost  equally  impossible  to  decide  how  much  of  the  detail  illustrated  was  of 
his  own  design  and  how  much  of  it  was  drawings  of  things  which  he  had  seen.  I  have  found,  for 
example,  that  the  upper  left  hand  cornice  of  Plate  12  in  the  "American  Builder's  Companion"  was  in 
common  use  at  Litchfield,  Connecticut,  before  the  publication  of  this  book,  but  until  I  saw  it  actually 
built  I  had  assumed  that  the  design  was  original  with  Benjamin.  The  question  is,  however,  of  little 
importance;  the  details  are  throughout  of  such  charm  and  spirit  and  so  far  from  most  modern 
attempts  at  Colonial  that  they  are  of  the  utmost  value  to  all  designers  who  do  not  wish  to  continue 
to  use  the  stereotyped  successions  of  moldings  which  constitute  the  Classic  cornices  as  illustrated  in 
Vignola.  It  is  an  education  even  to  look  over  the  varieties  of  architraves,  base  moldings,  etc.,  and 
to  note  how  little  they  resemble  the  motives  which  we  are  accustomed  to  use  for  similar  positions, 
and  yet  how  completely  appropriate  they  are  to  them. 

I  believe  that  a  book  like  this  is  of  far  greater  value  to  the  modern  designer  than  it  was  to  the 
designer  in  the  Colonial  period.  To  him  it  was  a  collection  or  compendium  of  things  with  which  he 
was  familiar.    To  us  it  is  a  presentation  of  motives  almost  as  novel  as  the  Chinese,  although  per- 


2 


ASHER  BENJAMIN 


fectly  adapted  to  modern  usage,  and  whether  or  not  we  choose  to  follow  Asher  Benjamin's  designs, 
we  cannot  but  realize  that  a  greater  freedom  in  the  treatment  of  the  parts  of  the  Classic  orders  is 
permissible  and  desirable. 


AY  MAR  EMBURY  II 


3 


THE 


Country  Builder's  Assistant  : 

FULLY  EXPLAJNING, 
thi  BEST  methods  for  STRIKING  REGULAR  and 

QUIRKED  MOULDINGS  : 

For  Drawing  and  Working  the  Tus-  §  Plan,  Elevation  and  Section  of 
can,  Doric,  Ionic,  and  Corinthian  §  a  MEETING  HOUSE,  with  a  Pulpit 
Orders,  with  their  Pedestals,  Bases,  §  at  Large. 

Capitals,  and  Entablatures,         j   Plans  and  Elevations  of  HOUSES, 
Architraves  for  Doors,  Windows  §  Fence  Posts  and  Railings. 

and  Chimnies.  §    The  Best  method  of  Finding  the 

Cornices, Bases  and SurSaae.Mouxx)-§,Lb-ngth  and  Backing  of  Hip  Raft- 

iNCS  for  Rooms.  §  ers. 

Chimney-Pieces,  Doors  and  SashesJ  —also— 

with  their  Mouldings.  §    The  Tracing  of  Groins,  Anglr 

The  Conjlruaion  of  Stairs,  with  their  §  Brackets,   Circular  Soffits  in 

Ramp  and  Twist  Rails.  §  Circular  Walls,  &c. 

CorreRly  engraved  on  thirty-seven  COPPERPLATES  with  a 
Printed  Explanation  to  each. 

•  <3SZ^3Z>  ' 

BvASHER  BENJAMIN. 
 <225**ZZZ>  ■ 

Publijhcd  According  to  AR  of  Congrefs. 


— — 


G  REENFIEL  D—  NUSS. 

PRINTED  BY  JOHN  DENIO. 
1805. 


Editor's  Note  on  "The  Country  Builder's  Assistant" 


The  contents  of  the  first  volume  are  better  explained 
on  the  title  page  than  by  any  description  which  I  can 
give  and  the  volume  is  produced  practically  in  full. 
All  the  plates  in  the  original  are  accompanied  by  ex- 
planations and  are  in  general  those  which  we  use  today. 

The  titles  and  plate  descriptions  which  follow  are 
reprinted  in  Asher  Benjamin's  language  and  without 
change  from  his  spelling. 


6 


PLATE  DESCRIPTIONS: 


PLATE  1:  Fig.  M,  is  a  Banister  for  Balustrades,  or  any  other  place  required;  the  distance 
between  the  Banisters  may  be  one  half,  or  the  whole  breadth  of  the  Banister. 

To  proportion  Architraves  to  Doors,  Windows,  etc.,  divide  the  width  of  your  Door  or  Win- 
dow, into  seven  or  eight  parts,  and  give  one  to  the  width  of  the  Architrave;  divide  that  into  the  same 
number  of  parts,  as  are  contained  in  the  Architrave  you  make  use  of,  if  a  Frieze  and  Cornice  to  the 
Door,  give  the  Frieze  equal  to  the  width  of  the  Architrave;  or  it  may  be  one  fourth  or  one  third 
wider,  the  Cornice  four  fifths  or  five  sixths  of  the  Architrave. 

PLATE  2 :  To  Proportion  the  Tuscan  Order,  to  any  given  height,  on  a  Sub-plinth. 

PLATE  3 :  The  Tuscan  Base,  Capital,  and  Entablature,  with  all  the  Measures, 

FIGURED  FROM  THE  SCALE,  a.  b. 

PLATE  4:  The  Doric  Base,  Capital,  and  Entablature,  with  all  the  Mouldings,  fig- 
ured for  Practice. 

In  Intercolumniations,  for  Porticoes,  Colonnades,  Arcades,  etc.,  due  regard  must  be  had  to  the 
number  of  Triglyphs  and  Mutules  between  the  central  line  of  Columns  in  the  Doric  Order,  3 
diameters  45  minutes,  take  3  Triglyphs;  5  diameters  take  4  Triglyphs;  6  diameters  15  minutes, 
take  5  Triglyphs;  7  diameters  30  minutes,  take  6  Triglyphs;  8  diameters  45  minutes,  take  7  Tri- 
glyphs, etc. 

PLATE  5 :  The  Ionic  Base,  Capital,  and  Entablature,  with  all  their  Mouldings, 
figured  for  practice,  in  height  and  projection. 

PLATE  6:  The  Ionic  Volute,  with  all  the  measures,  figured  for  practice. 

PLATE  7 :  The  Corinthian  Base,  Capital,  and  Entablature,  with  all  the  Mould- 
ings, figured  for  practice. 

PLATE  8: 

Figure  A.    Plancere  of  the  Corinthian  Cornice 
Fig.  B.    Plancere  of  the  Ionic  Cornice. 
Fig.  C.    Plancere  of  the  Doric  Cornice 
Fig.  D.    Neck  of  Column 

PLATE  9:  Tuscan  and  Doric  Pedestals 

PLATE  10:  Ionic  and  Corinthian  Pedestals 

(Plate  11  Omitted:  To  Obtain  Entasis) 

7 


JSHER  BENJAMIN 


PLATE  12:  A  Tuscan  and  a  Doric  Front. 

PLATE  13:  Ionic  and  Corinthian  Fronts,  drawn  one  fourth  of  an  inch  to  a  foot,  with  all  their 
parts  figured  for  practice,  which  is  plain  to  inspection. 

PLATE  14:  On  this  plate  is  a  four  and  six  pannel  Door,  with  all  the  measures  exactly  figured. 
Divide  the  width  of  the  Door  into  9  parts,  one  of  which  is  the  width  of  the  margin  of  the  stile;  i,  h, 
g,  f,  are  mouldings  for  Doors,  full  size  for  practice. 

PLATE  15:  Sash  Details 

Figure  A,  is  an  end  view  of  a  bar  for  an  Ovolo  Sash,  full  size  for  practice. 

Fig.  B.    Do.  Astrigal 

Fig.  C.    Do.  Astrigal  and  Hollow 

Fig.  D.    An  end  view  of  a  Stile  for  Fig.  C,  full  size  for  practice. 

Fig.  E.    Shows  the  profile  of  the  Stiles  to  the  top  and  bottom  Sash.    The  shaded  part 
shows  the  Dove  tail  for  the  Meeting  Rails,  which  is  plain  to  inspection. 

PLATE  16:  To  proportion  Cornices  to  Rooms  or  any  other  place  required 
Divide  the  whole  height  of  the  Room  into  22,  24,  or  25  parts,  and  give  one  of  those  parts  to 
the  Cornice,  which  is  to  be  divided  into  the  same  number  of  parts  as  are  contained  in  the  Cornice 
you  make  use  of,  and  those  parts  to  be  disposed  to  the  Mouldings,  in  height  and  projection,  as 
figured  on  the  Plate.  If  those  cornices  are  used  on  the  outside  of  buildings,  divide  the  height  into 
19  or  20  parts,  one  of  which  will  be  the  height  of  the  Cornice.  If  the  Cornices  of  any  of  the 
Orders  are  used  without  the  Architrave  and  Frieze,  the  height  may  be  one  nineteenth,  or  one  twen- 
tieth, as  above,  and  divided  into  as  many  parts  as  there  are  minutes  contained  in  the  whole  Cor- 
nice, which  are  to  be  disposed  according  to  the  directions  in  each  Order. 

PLATE  17:  Cornices 

PLATE  18:  Cornices 

PLATE  19:  On  this  Plate  is  the  Tuscan,  Doric  and  Ionic  Pedestal  Mouldings, 

WHICH  MAY  BE  DRAWN  FROM  THE  SAME  SCALE,  THAT  YOU  DRAW  THE  ORDERS 
FROM 

PLATE  20:  Imposts,  Urns  and  Shelf  Moulds 
PLATE  21:  A  Plain  Chimneypiece 
PLATE  22: 

B,  Cornice,  half  size;  C,  Architrave,  half  size;  A,  Moulding  round  Tablet,  full  size  for 

practice. 

8 


JSHER  BENJAMIN 


PLATE  23: 

A,  Cornice,  half  size,  for  practice 

B,  Band  to  Architrave,  half  size 
B,  Necking  to  Pelaster,  half  size 

D,  Base  to  Pelaster,  half  size 

E,  Surbase  Moulding,  half  size 

PLATE  24: 

A,  Cornice,  half  size 

B,  Necking  to  Pelaster,  Do. 

C,  Base  to  Pelaster 

D,  The  Moulding  and  Sinking  of  Pelaster,  do. 
PLATE  25: 

Figure  1,  is  the  Plan  and  Scrole  of  the  Twist  Rail  for  a  Stair-case. 

Figure  2,  is  the  Raking  Moulding  for  the  Turn  of  the  Twisted  part  of  the  Hand  Rail 

Figure  3,  is  a  Moulding  for  the  falling  of  the  twisted  part  of  the  Hand  Rail 

(PLATES  26-27  omitted:  Builders'  diagrams  for  straight  stair  cases) 

PLATE  28:  Of  Raking  Cornice  for  Pediments 

(PLATES  29-30  omitted:  Elevations  of  small  brick  two  and  three  stories  houses  respectively) 

PLATE  31 :  The  Design  for  a  Brick  Countryhouse 

PLATE  32:  A  Plan  for  a  Brick  Countryhouse 

PLATE  33 :  A  Design  for  a  Meetinghouse 

PLATE  34:  Two  Designs  for  Railings  and  Posts  for  Fences 

(PLATE  35  omitted:  Framing  for  a  pitched  roof) 

(PLATE  36  omitted:  Method  of  laying  out  Trusses) 

(PLATE  37  omitted:  Stone  cutters'  diagram  for  windows  in  circular  walls) 


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41 


THE 

American  Builders  Companion ; 

OR,  A 

NEW  SYSTEM  OF  ARCHITECTURE: 

PARTICULARLY  ADAPTED 

TO 

THE  PRESENT  STYLE  OF  BUILDING 

IN 

Cfje  UntteU  states  of  America* 


CONTAINING, 

FORTY  FOUR  ENGRAVINGS, 


Geometrical  Lines. 

Twenty  differenc  Designs  for  Mouldings. 

The  five  Orders  of  Architecture,  with  great  alterations,  both  in 

size  and  expense. 
Glueing  up  and  diminishing  of  Columns. 
How  to  find  the  different  Brackets  of  a  Groind  Ceiling. 
Ease  and  Surbase  Mouldings,  Architraves,  &c. 
Twenty  four  different  Designs  for  Cornices,  both  for  external 

and  internal  finishing. 
Stone  Window  Caps  and  Sills,  showing  the  manner  of  setting 

them  in  a  Bnck  Wall. 
Sash  Frames,  Sashes,  and  Shutters. 
Straight  and  Circular  Stairs. 


ENTINC, 

Roofs  and  finding  the  Length  and  Backingof  Hips,  either  square 
or  bevel. 

Ornamental  Capitals,  Mouldings,  Friezes,  Leaves,  and  Ceilings. 

Chimney  Pieces. 

Frontispieces. 

Urns,  Banisters,  Key  Stones,  &c. 

Plans  and  Elevations  of  three  Mouses  for  Town,  and  two  for 
Country. 

Plans  and  Elevations  for  two  Meetinghouses. 
Plan  and  Elevation  for  a  Summcrhouse. 
Plan  and  Elevation  for  a  Courthouse. 

Plan,  Elevation,  and  Section  of  the  Branch  Bank  of  Boston. 
With  particular  Directions  for  executing  all  the  above  Designs. 


BY  slS  HER  BENJAMIN,  ARCHITECT  AND  CARPENTER, 

AND 

DANIEL  RAYNERD,  ARCHITECT  AND  STUCCO  WORKER. 


"Boston : 

PUBLISHED  BY  ETHERIDGE  AND  BLISS,  PROPRIETORS  OF  THE  WORK. 

5.  ETHERIDGE,  PRINTER,  CHARLESTOWN. 
1806 

43 


* 


Editor's  Notes  on  "The  American  Builder's 
Companion." 

The  second  of  Asher  Benjamin's  books,  "The 
American  Builder's  Companion,"  was  written  in  asso- 
ciation with  an  architect  and  stucco  worker,  and  is  in 
many  ways  the  most  interesting  of  all  the  volumes. 


44 


RECOMMENDATION 


Boston,  September  8th,  1806 

Gentlemen: 

Having  been  chosen  a  committee  by  the  gov- 
ernment of  the  Boston  Housewright  Society,  to  exam- 
ine the  proof  sheets  of  a  new  book  you  were  publishing , 
entitled,  "The  American  Builder's  Companion;  or,  a 
New  System  of  Architecture" ;  and  being  satisfied  that 
a  work  of  this  kind  has  been  much  wanted,  and  that 
yours  is  better  culculated  to  assist  the  American  builder 
than  any  that  has  come  within  our  knowledge,  we 
therefore  do  not  hesitate  to  say,  we  shall  cordially 
recommend  it  whenever  we  have  it  in  our  power. 

That  your  exertions  may  meet  with  success,  and  your 
book  have  an  extensive  circulation,  is  the  wish 

Gentlemen, 

Of  your  very  humble  servants, 

Thomas  W.  Sumner] 
Jonathan  Loring  \  Committee 
James  BolterJ 

Mess'rs  Raynerd  and  Benjamin 


45 


PREFACE 


BOOKS  on  Architecture  are  already  so  numerous  that  adding  to  their  number  may  be  thought 
to  require  some  apology;  but  it  is  well  known  to  any  one  in  the  least  conversant  with  the 
principles  of  Architecture,  that  not  more  than  one  third  of  the  contents  of  the  European 
publications  on  this  subject  are  of  any  use  to  the  American  artist  in  directing  him  in  the  practical  part 
of  his  business. 

The  style  of  building  in  this  country  differs  very  considerably  from  that  of  Great  Britain,  and 
other  countries,  in  Europe,  which  is  partly  in  consequence  of  the  more  liberal  appropriations  made 
for  building  in  those  countries,  and  of  the  difference  of  materials  used,  particularly  in  the  external 
decorations.  The  American  Mechanic  is,  therefore,  in  purchasing  European  publications,  under  the 
necessity  of  paying  two  thirds  the  value  of  his  purchase  for  what  is  of  no  real  use  to  him;  and  as 
the  principal  part  of  our  designs  have  been  executed  by  our  own  hands,  we  feel  confident  that  this 
publication  will  be  found  to  contain  more  useful  information  for  the  American  workman  than  all 
the  European  works  which  have  appeared  in  this  country,  and  which,  for  the  most  part,  are  mere 
copies  one  from  the  other. 

We  are  well  aware  that  the  magnificent  temples  of  ancient  times  still  retain  a  degree  of  roman- 
tic grandeur,  which  would  do  honour  to  the  present  age.  It  will,  at  the  same  time,  be  readily  ac- 
knowledged, that  an  exact  imitation  of  those  noble  productions  of  former  times,  on  account  of  the 
present  expense  of  materials  and  labour,  would  require  no  common  degree  of  opulence  for  their 
completion:  and,  indeed,  a  strict  conformity  to  the  orders  of  Architecture  seems  to  be  demanded  in 
the  construction  of  public  buildings  only,  and  others  of  immense  magnitude;  in  such  situations  they 
have  a  most  noble  and  majestic  appearance;  but  in  private  buildings,  and  others  of  less  magnitude, 
their  massy  size  and  the  expense  attending  them,  are  little  suited  to  our  convenience  and  means  of 
appropriation.  A  principal  part  therefore  of  our  design,  in  this  work,  is  to  lighten  their  heavy 
parts,  and  thereby  lessen  the  expense  both  of  labour  and  materials.  This  we  expect  to  accomplish 
so  as  to  effect  a  saving  of  one  sixth,  and,  in  many  cases,  one  fourth  part:  the  building  shall  occupy 
less  ground,  and,  at  the  same  time,  be  more  commodious. 

We  do  not  conceive  it  essentially  necessary  to  adhere  exactly  to  any  particular  order,  provided 
the  proportion  and  harmony  of  the  parts  be  carefully  preserved.  If,  for  instance,  in  any  of  the 
cornices  an  ovolo  should  be  changed  for  an  ogee,  or  for  a  hollow,  so  trifling  an  alteration  would 
not  destroy  the  effect  of  the  whole,  provided  it  were  done  with  any  degree  of  judgment.  Attempts 
which  have  sometimes  been  made  to  compose  fancy  orders,  have  only  spoiled  the  work,  and  no 
reduction  of  the  expense  has  been  effected.  It  is,  therefore,  as  necessary  that  these  modern  fancies 
should  be  reduced  to  a  regular  system,  as  it  was  in  former  ages,  that  the  Grecian  and  Roman  orders 
should  assume  a  fixed  character.  One  important  object  of  improvement,  is  a  method  of  preserving 
the  apparent  size  of  an  object  elevated  above  the  eye,  while,  at  the  same  time,  the  real  size  is 


47 


ASHER  BENJAMIN 


considerably  diminished.  It  is  easy  to  conceive  that  the  size  and  effect  of  a  cornice  for  instance,  does 
not  so  much  depend  on  its  height  as  it  does  on  its  projection;  because  cornices  are  always  elevated  a 
considerable  distance  above  the  eye,  and,  of  course,  the  apparent  size  depends  principally  on  the 
projection.  (See  Plate  No.  15.)  It  will  at  once  be  perceived,  that  the  diminution  in  the  height  of 
the  cornice  is  not  the  most  considerable  advantage  to  be  derived  from  this  construction;  but  that  the 
same  is  gained  in  the  height  of  the  wall  that  is  taken  from  the  height  of  the  cornice. 

We  have  ventured  to  make  some  alteration  in  the  proportions  of  the  different  orders,  by 
lengthening  the  shafts  of  the  columns  two  diameters.  Their  entablatures  and  pedestals  bear  nearly 
the  same  proportion  as  formerly,  except  that  the  architrave  has  less  height,  the  frieze  more  height 
(except  in  the  Doric)  and  the  cornice  less  height  and  more  projection. 

We  have  given  a  great  variety  of  fancy  cornices  and  capitals,  both  for  external  and  internal 
finishing;  and  calculated  both  for  wood  and  stucco. 

Being  the  first  who  have  for  a  great  length  of  time,  published  any  New  System  of  Architecture, 
we  do  not  expect  to  escape  some  degree  of  censure.  Old  fashioned  workmen,  who  have  for  many  years 
followed  the  footsteps  of  Palladio  and  Langley,  will,  no  doubt,  leave  their  old  path  with  great  re- 
luctance. But  impressed  as  we  are,  with  a  conviction  that  a  reform  in  some  parts  of  the  system  of 
Architecture  is  loudly  demanded,  and  feeling  a  confidence  from  our  knowledge  of  the  theory,  and 
from  having  long  been  conversant  in  the  practical  part  of  that  science,  we  have  ventured,  without 
the  aid  of  subscription,  to  exhibit  our  work  to  the  public  view. 

Boston,  1806 


48 


EXTRACTS  FROM  TEXT  AND  PLATE 
DESCRIPTIONS 


(PLATE  1  omitted:  Geometrical  descriptions  for  the  carpenter) 
(PLATE  2  omitted:  Geometrical  descriptions  for  the  carpenter) 
(PLATES  3-4-5-6-7-8-9  and  10  omitted:  The  five  orders) 
PLATE  1 1 :  Of  Base  and  Surbase  Mouldings,  and  Architraves. 

To  proportion  base  and  surbase  mouldings  to  the  pedestal  part  of  rooms,  divide  from  the  floor 
to  the  top  of  the  surbase,  into  ten  parts,  give  one  to  the  height  of  the  surbase.  Suppose  the  height 
from  the  floor  to  the  top  of  the  surbase  to  be  two  feet,  eight  inches,  one  tenth  would  be  three  inches 
and  one  fifth  of  an  inch,  which  divides  into  as  many  parts  as  are  contained  in  the  height  of  the  sur- 
base you  make  use  of,  and  those  parts  given  to  the  mouldings  in  height  and  projection  as  figured  on 
the  plate.  The  same  scale,  or  parts,  will  draw  the  base  mouldings  in  proportion  to  the  surbase;  let 
the  plinth  be  from  five  to  six  inches  wide. 

To  proportion  architraves  to  doors  and  windows,  divide  the  door  into  eight  parts,  give  one  to 
the  width  of  the  architrave.  If  a  door  is  three  feet  six  inches  wide,  one  eighth  would  be  five  and  a 
quarter  inches.  Divide  five  and  a  quarter  inches,  into  as  many  parts  as  are  contained  in  the  archi- 
trave you  make  use  of,  and  those  parts  given  to  the  moulding  as  figured  on  the  plate.  It  is  very 
often  necessary  to  vary  this  proportion,  and  oftener  for  inside  of  windows  than  for  doors.  For 
example,  if  a  door  is  three  feet  six  inches  wide,  the  opening  between  the  architraves  to  the  windows 
of  the  same  room,  would  probably  be  as  much  as  four  feet,  four  inches;  one  eighth  of  which  would 
be  six  and  a  half  inches,  which  would  be  very  improper,  as  you  would  have  two  widths  of  archi- 
traves in  the  same  room.  We  therefore  should  advise  to  make  the  architrave  to  the  window  five 
and  a  quarter  inches.  Again,  if  a  door  should  be  six  feet  wide,  one  eighth  of  it  would  be  nine  inches, 
which  would  be  too  large,  and  may  be  reduced  to  six  and  a  half  or  seven  inches.  Some  judgment 
should  be  exercised  respecting  the  situation  in  which  architraves  are  to  be  used.  If  they  are  on  exter- 
nal parts  of  buildings,  and  at  a  considerable  distance  from  the  eye,  it  will  be  proper  to  make  them 
larger  than  if  used  on  internal  finishing  and  near  to  the  eye. 

PLATE  12:  Of  Cornices 
REMARKS  ON  CORNICES: 

As  cornices  make  a  very  considerable  part  of  Architecture,  there  cannot  be  too  much  care  taken 
to  make  them  appear  to  as  much  advantage  as  possible,  and  to  manage  their  mouldings  so  as  to  take 
up  no  more  room  than  is  sufficient  to  answer  the  purpose;  for  it  ought  to  be  remembered,  that  every 

49 


ASHER  BENJAMIN 


inch  that  is  added  to  the  height  of  the  cornice  on  the  wall  line,  beside  increasing  size  and  expense, 
is  robbing  so  much  from  the  height  of  the  wall,  which  is  increasing  another  expense,  therefore  a 
large  projection  ought  to  be  recommended.  It  has  always  been  remarked,  that  the  Doric  cornice  has 
a  more  noble  appearance  than  the  cornice  of  any  other  order;  and,  by  examination,  we  find  that  its 
parts  are  few  in  number,  but  bare  a  just  proportion  to  each  other,  and  are  of  simple  construction;  and 
that  it  projects  one  fourth  more  than  it  rises  on  the  wall  line,  which  is  one  fourth  more  than  any 
of  the  other  orders.  Now,  if  this  is  all  the  Doric  order  has  to  give  it  a  preference,  for  it  really  has 
nothing  else,  we  can  easily  imitate  it;  at  the  same  time,  make  a  saving  of  nearly  one  fourth  part  of 
the  expense.  As  we  have  had  a  good  deal  of  practice  in  this  part  of  our  business,  we  have  paid  par- 
ticular attention  to  it.  We  have  appropriated  plate  15  to  prove  geometrically,  that  the  size  and 
beauty  of  cornices  do  not  so  much  depend  on  their  height,  as  on  their  projections;  but  as  that,  and 
the  size,  are  treated  in  their  places,  we  shall  here  only  make  a  few  remarks  on  their  constructions. 

The  projection  of  a  cornice  ought  to  be,  at  least,  one  fourth  more  than  its  rise;  the  parts 
should  be  as  few  as  possible,  and  those  well  proportioned;  not  crowd  in  any  mouldings  that  cannot 
be  seen.  About  one  half  the  projections  ought  to  be  given  to  the  plancere,  which  will  prevent  its 
looking  bulky,  and  give  it  a  light  appearance.  Their  fillets  ought  not  to  be  too  small,  and  to  have  a 
good  projection  before  each  moulding;  at  least  as  much  as  they  rise.  Their  quirks  ought  to  be  large, 
and  as  many  as  the  cornice  will  admit  of,  as  the  principal  beauty  of  plain  cornices  depends  on  the 
shadows  of  their  quirks.  When  mouldings  are  ornamented,  they  may  be  larger  than  when  plain,  as 
carving  lightens  them.  They  ought  never  to  be  too  much  crowded  with  ornaments,  but  always 
leave  a  sufficiency  of  plain  space  to  form  a  contrast.  Three  embellishments  are  generally  sufficient  for 
any  cornice,  and  one  ought  always  to  be  in  the  plancere.  Stucco  cornices  admit  of  much  greater 
variety  than  wooden  ones,  but  nearly  the  same  rules  apply  to  both. 

Observe  that  the  ornaments  be  bold,  and  proportioned  to  the  height  of  the  room;  not  to  make 
the  same  mouldings  serve  for  a  room  of  twenty  feet  high  that  was  modelled  for  one  of  ten;  and 
that  they  always  be  such  as  will  appear  natural  and  open.  In  some  cases  where  the  room  is  low, 
the  plancere  may  be  laid  flat  on  the  ceiling,  or  even  sunk  level  with  it.  Their  projection  may  in  some 
cases,  be  double  their  height,  and  their  height,  when  enriched  with  three  ornaments,  about  a  thirtieth 
part  of  the  height  of  the  room.  Their  projection  ought  in  some  measure,  to  be  conformable  to  the 
size,  as  well  as  their  height,  to  that  of  the  room.  This  will  admit  of  no  exact  rule;  therefore  must, 
in  a  great  measure,  depend  on  the  fancy  of  the  designer. 

PLATE  13:  Of  Cornices 
PLATE  14:  Of  Cornices 

PLATE  15:  Of  Cornices 
Fig.  1 

A  is  a  Tuscan  cornice  copied  from  Langley,  and  seen  at  an  angle  of  forty  five  degrees  from  the 
horizon  (fig.  2),  which  is  the  angle  cornices  are  commonly  seen  at.    B  is  a  modern  cornice,  which 

50 


ASHER  BENJAMIN 


is  only  two  thirds  of  the  height.  This  experiment  proves,  that  a  cornice,  when  seen  at  the  angle  of 
forty  five  degrees,  may  be  diminished  one  third  of  its  height,  and  appear  to  the  spectator  to  be  dimin- 
ished only  two  elevenths;  and  when  seen  at  an  angle  of  fifty  degrees  (fig.  3),  which  is  a  little  nearer 
to  the  building,  it  may  be  diminished  one  third,  and  only  appear  to  be  diminished  one  sixth.  Now, 
by  this  as  it  appears,  that  if  cornices  are  in  the  original  orders  one  sixth  too  large,  which  they  really 
are,  that  they  may  be  diminished  one  third,  and  have  the  appearance  of  being  diminished  only  one 
sixth,  which  will  make  a  saving  of  at  least  one  fourth  of  the  expense,  beside  saving  so  much  of  the 
height  of  the  wall  of  the  whole  building,  and  at  the  same  time  have  a  lighter  and  better  appearance. 

Fig.  4 

A  is  an  ovolo,  or  quarter  round,  which  is  commonly  used  in  the  orders. 

This  figure  shows  the  advantage  of  quirked  mouldings.  Beside  looking  better,  their  size  may 
be  increased  one  third  without  increasing  their  height,  as  seen  by  B;  or  their  height  may  be  dimin- 
ished one  third,  without  appearing  much  less,  as  seen  by  C. 

PLATE  16:  Of  Doors  and  Sashes. 

PLATE  17:  Of  Windows,  etc. 

PLATE  18:  Details  of  Windows. 

(PLATES  19-20-21-22  omitted:  Descriptions  of  stairs  similar  to  those  in  First  Volume). 

(PLATE  23:  omitted:  Of  Capitals). 

(PLATE  24:  omitted:  Ornamental  Mouldings). 

(PLATE  25:  omitted:  Three  Designs  for  Friezes). 

(PLATE  26:  omitted:  Centerpieces  for  Ceilings). 

PLATE  27 :  Designs  for  Ornamental.      Stucco  Ceilings,  with  some  of  their  Parts 

ENLARGED. 

In  ornamenting  ceilings,  the  figure  should  be  of  a  proper  boldness  and  strength  of  shadow  to 
the  height  of  the  room,  and  be  significant  of  its  use.  They  ought  to  be  such  as  will  appear  orna- 
mental, or  they  had  better  be  left  out,  and  those  parts  which  are  case  with  grounds  be  sunk  level  with 
the  line  of  the  ceiling,  or  they  will  have  a  heavy  appearance.  When  a  room  is  low,  all  the  parts  of 
the  ornaments  should  be  correctly  finished,  with  very  delicate  strokes,  and  light  in  proportion  to 
the  height;  yet  to  preserve  a  proper  boldness  of  tint.  When  a  room  is  very  high,  there  maybe  bold 
and  well  placed  strokes,  without  regard  to  a  great  deal  of  delicacy.  Regard  ought  to  be  paid  to  the 
use  of  a  room,  as  it  is  as  easy  to  introduce  emblematical  subjects  as  those  void  of  meaning.  An 
ornament,  however  well  executed,  is  not  fit  to  be  put  in  every  room.  Those  that  would  be  exceedingly 
well  adapted  for  dancing  room,  for  instance,  would  be  ridiculous  if  put  in  a  church  or  a  courthouse, 


51 


ASHER  BENJAMIN 


or  even  those  modelled  for  a  drawingroom  or  bedroom,  would  not  be  fit  for  a  dining  room  or  a  hall. 

Every  subject  that  is  introduced,  ought  to  approach  as  near  to  nature  as  art  will  admit  of.  A 
hall,  saloon,  or  staircase,  ought  to  exhibit  something  of  more  solidity  and  strength.  We  would  not 
recommend  the  last  mentioned  apartments  to  be  finished  higher  than  the  Doric  order,  if  regard  is  paid 
to  any.  It  is  to  be  remembered,  that  objects  are  not  to  be  dispersed  about  a  room  without  order,  but 
should  be  grouped  into  trophies  with  a  great  deal  of  judgment,  and  care  taken  to  give  them  as  easy 
and  natural  an  appearance  as  possible,  and  introduce  nothing  that  will  look  stiff  or  mechanical. 

PLATE  28:  Contains  Eleven  Designs  for  Chimneypieces. 

PLATE  29 : 

Fig.  1  is  Door  intended  for  inside  finishing. 

Fig.  2  is  a  Front  door  with  only  two  columns  or  pilasters. 

PLATE  30: 

Fig.  1  is  a  Venetian  door,  calculated  for  a  brick  house. 
Fig.  2  is  a  Front  door,  calculated  for  a  low  story. 

PLATE  31:  Contains  two  designs  for  trusses;  four  for  key  stones;  with  a  profile  plan,  and 
front  of  a  modillion. 

PLATE  32:  Seven  Designs  for  Banisters,  and  Five  Designs  for  Urns. 

PLATE  33 :  Plan  and  Elevation  for  a  small  Townhouse. 

(PLATE  34:  Omitted:  Plan  for  Townhouse). 

PLATE  35 :  Plan  and  Elevation  for  Townhouse. 

PLATE  36:  Plan  and  Elevation  for  a  House  which  is  intended  for  a  country  sit- 
uation. 

(PLATE  37:  omitted:  Countryhouse) . 

PLATE  38:  Plan  and  Elevation  for  a  Meetinghouse. 

PLATE  39:  Plan  and  Elevation  for  a  Meetinghouse. 

PLATE  40:  Design  for  a  Summerhouse. 

PLATE  41 :  Designs  for  Pulpits. 

PLATE  42:  Plan  and  Elevation  for  a  Courthouse. 

(PLATE  43:  omitted:  Drawing  of  Bulfinch's  United  States  Bank  in  Boston). 


52 


ASHER  BENJAMIN 


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91 


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Plate  4*2. 


95 


THE 

RUDIMENTS 

OP 

ARCHITECTURE  x 

BEING  A. 

TREATISE  ON  PRACTICAL  GEOMETRY, 

ON 

GRECIAN  AND  ROMAN  MOULDINGS  ; 

SHEWING 

THE  BEST  METHOD  OF  DRAWING  THEIR  CURVES,  WITH 
REMARKS  ON  THE  EFFECT  OF  BOTH. 

AISO, 

ON  THE  ORIGIN  OF  BUILDING, 

ON 

THE  FIVE  ORDERS  OF  ARCHITECTURE, 

ON 

THEIR  GENERAL  AND  PARTICULAR  FARTS  AND  EMBELLISHMENTS, 
WITH  EXAMPLES  FOR 

CORNICES,  BASE  AND  SURBASE  MOULDINGS, 
ARCHITRAVES,  AND  STAIRS, 

CORRECTLY  ENGRAVED  ON  THIRTY-TWO  COPPERPLATES. 


BY  ASHER  BENJAMIN. 


BOSTON, 

PRINTED  FOR  THE  AUTHOR,  BY  MUNROE  AND  FRANCIS, 
No.  4,  CornhilL 

1814. 


Editor's  Notes  on  "The  Rudiments  of 
Architecture" 

This  volume  is  interesting  chiefly  for  the  excellent 
plates  of  the  orders  which  it  contains  and  for  certain 
geometrical  methods  of  setting  out  mouldings.  In  the 
orders,  the  influence  of  the  Classic  Revival  is  plainly 
to  be  observed  and  for  the  most  part  the  motives  of 
the  cornices,  etc.,  do  not  possess  the  grace  and  delicacy 
which  characterize  the  earlier  work.  The  majority 
of  the  plates  have  been  omitted.  Plates  1,  2,  3,  4,  5, 
6,  7  and  8  because  th'ey  are  practically  geometry;  plate 
12,  The  Tuscan  order,  because  it  is  absolutely  like  that 
in  the  first  volume  although  better  drawn;  plate  16  of 
the  Composite  Order,  for  the  same  reason;  plates 
17,  18,  and  19,  because  they  are  instructions  to  the 
wood  carver  as  to  laying  out  capitals;  plates  20,  21, 
and  22,  because  they  are  duplicates  of  the  orders; 
plate  24  is  another  drawing  of  pedestals;  plates  30, 
31  and  32,  because  they  are  instructions  to  stair  mak- 
ers regarding  cage  newels  that  have  already  been 
illustrated. 


98 


OF  THE  PARTS  WHICH  COMPOSE  THE  ORDERS  OF  ARCHI- 
TECTURE AND  OF  THEIR  PROPERTIES,  APPLICATION  AND 
EMBELLISHMENTS. 

As,  in  many  other  arts,  so  in  architecture,  there  are  certain  elementary  forms,  which,  though  sim- 
ple in  their  nature,  and  few  in  number,  are  the  principal  constituent  objects  of  every  composition, 
however  complicated  or  extensive  it  may  be. 

The  names  of  these  are  allusive  to  their  forms;  and  their  forms  are  adapted  to  the  use  which 
they  are  intended  to  serve.  The  ovolo  and  ogee,  being  strong  at  their  extremities,  are  fit  for  sup- 
ports; the  cimarecta  and  cavetto,  though  improper  for  that  purpose,  as  they  are  weak  in  the  extreme 
parts,  and  terminate  in  a  point,  are  well  contrived  for  coverings  to  shelter  other  members;  the  tend- 
ency of  their  outline  being  very  opposite  to  the  direction  of  falling  water,  which,  for  that  reason,  can- 
not glide  along  their  surface,  but  must  necessarily  drop.  The  torns  and  astragal,  shaped  like  ropes, 
are  intended  to  bind  and  strengthen  the  parts  on  which  they  are  employed;  and  the  use  of  the  fillet 
and  scotia,  is  only  to  separate,  contrast,  and  strengthen  the  effect  of  the  other  mouldings;  to  give  a 
graceful  turn  to  the  profile;  and  to  prevent  that  confusion,  which  would  be  occasioned  by  joining  sev- 
eral convex  members  together. 

When  friezes,  or  other  large  members,  are  to  be  enriched,  the  ornaments  may  be  significant,  and 
serve  to  indicate  the  destination,  or  use  of  the  building;  the  rank,  qualities,  profession,  and  achieve- 
ments of  the  owner. 

In  sacred  places,  all  obscene,  grotesque,  and  heathenish  representations  ought  to  be  avoided;  for 
indecent  fables,  extravagant  conceits,  or  instruments  and  symbols  of  pagan  worship,  are  very  improper 
ornaments  in  structures  consecrated  to  Christian  devotion. 

In  architecture,  the  most  exquisite  ornaments  lose  all  their  value,  if  they  load,  alter,  or  confuse 
the  form  they  are  designed  to  enrich  and  adorn. 

In  the  application  of  their  ornaments,  the  ancient  sculptors  observed  to  use  such  as  required  a 
considerable  relief,  on  mouldings,  that  in  themselves  are  clumsy,  as  the  ovolo  and  astragal;  which,  by 
means  of  the  deep  incisions  made  in  them  to  form  these  enrichments,  acquired  an  extraordinary  light- 
ness; but  in  both  which  cases,  their  figures  should  be  simple,  distinct,  and  unembarrassed.  The 
dentil  band  should  remain  uncut,  where  the  ovolo  and  ogee  immediately  above  and  below  it  are  en- 
riched; for  when  the  dentils  are  marked,  the  three  members  are  confounded  together,  and  being  cov- 
ered with  ornaments,  become  far  too  rich  for  the  remainder  of  the  composition,  which  are  defects,  at 
all  times,  studiously  to  be  avoided;  as  a  distinct  outline,  and  an  equal  distribution  of  enrichments,  must 
on  every  occasion,  be  strictly  attended  to. 

Ornaments  should  neither  be  too  frugally  employed,  nor  distributed  with  too  much  profusion; 
their  value  will  increase,  in  proportion  to  the  judgment  and  discretion  shown  in  their  application. 

Variety  in  ornaments  should  not  be  carried  to  an  excess.    In  architecture  they  are  only  accesso- 


99 


ASHER  BENJAMIN 


ries;  and  therefore  they  should  not  be  too  striking,  nor  capable  of  long  detaining  the  attention  from 
the  main  object.  Those  of  the  mouldings  in  particular,  should  be  simple,  uniform, ,  and  never  com- 
posed of  more  than  two  different  representations  upon  each  moulding;  which  ought  to  be  cut  equally 
deep;  be  formed  of  the  same  number  of  parts;  all  nearly  of  the  same  dimensions,  in  order  to  pro- 
duce one  even  uninterrupted  hue  throughout;  that  so  the  eye  may  not  be  more  strongly  attracted  by 
any  part  in  particular,  than  by  the  whole  composition. 

The  most  perfect  profiles,  are  such  as  consist  of  few  mouldings,  varied  both  in  form  and  size, 
fitly  applied,  with  regard  to  their  uses,  and  so  distributed,  that  the  straight  and  curved  ones,  suc- 
ceed each  other  alternately.  In  every  profile,  there  should  be  a  predominant  member,  to  which  all 
the  others  ought  to  seem  subservient;  and  made,  either  to  support,  to  fortify,  or  to  shelter  it  from 
injuries  of  weather;  and  whenever  the  profile  is  considerable;  or  much  complicated,  the  predominant 
should  always  be  accompanied  with  one,  or  more,  other  principal  members;  in  form  and  dimension, 
calculated  to  attract  the  eye;  create  momentary  pauses;  and  assist  the  perception  of  the  beholder. 
These  predominant  and  principal  members,  ought  always  to  be  of  the  essential  class,  and  generally 
rectangular.  Thus,  in  a  cornice,  the  corona  predominates;  the  modillions  and  dentils  are  principals 
in  the  compositions;  the  cimarecta  and  cavetto,  cover  them;  the  ovolo  and  ogee,  support  them. 

When  ornaments  are  employed  to  decorate  a  profile,  some  of  the  moulding  should  always  be 
left  plain,  in  order  to  form  a  proper  repost;  for  when  all  are  enriched,  the  figure  of  the  profile  is  lost 
in  confusion.  In  an  entablature,  the  corona  should  not  be  ornamented;  nor  the  modillion  band; 
neither  should  the  plinths  of  columns,  fillets,  nor  scarcely  any  square  members  be  carved;  for,  gener- 
ally speaking,  they  are  either  principal  in  the  composition,  or  used  as  boundaries  to  other  parts;  but 
on  more  elegant  parts,  as  the  cavetto,  and  cima,  they  employed  thin  bodies,  which  could  be  repre- 
sented without  entering  too  far  into  the  solid. 

When  objects  are  near,  and  liable  to  close  inspection,  every  part  of  the  ornament  should  be  ex- 
pressed, and  well  finished;  but  when  they  are  much  exalted,  the  detail  may  be  slightly  touched,  or  en- 
tirely neglected;  for  it  is  sufficient  if  the  general  form  be  distinct,  and  the  principal  masses  strongly 
marked.  A  few  rough  strokes  from  the  hand  of  a  skilful  master,  are  much  more  effectual  than  the 
most  elaborate  finishings  of  an  artless  imitator;  which,  seldom  consisting  in  more  than  smoothing  and 
neatly  rounding  off  the  parts,  are  calculated  to  destroy,  rather  than  to  produce  effect. 


100 


TITLES  OF  PLATES 

PLATES  9-10:  Designs  for  Mouldings. 
PLATE  1 1 :  Grecian  Mouldings. 
PLATE  13:  Doric  Order. 
PLATE  14:  Ionic  Order. 
PLATE  15:  Corinthian  Order. 

PLATE  23 :  Designs  for  Banisters,  Urns,  and  Key  Stones. 
PLATE  25 :  Four  Designs  for  Impost  Mouldings. 
PLATE  26 :  Design  for  Frontispiece  the  Tuscan  Order. 

PLATE  27:  Design  for  Venetian  Entrance,  Embellished  with  a  Doric  Portico. 
PLATE  28 :  Designs  for  Cornices. 

PLATE  29 :  Designs  for  Architrave,  Base  and  Surbase  Mouldings. 


101 


ASHER  BENJAMIN 


ASHER  BENJAMIN 


ASHER  BENJAMIN 


ASHER  BENJAMIN 


ASHER  BENJAMIN 


THE 

PRACTICAL  HOUSE  CARPENTER: 

BEING 

A  COMPLETE  DEVELOPMENT  OF  THE 

GRECIAN  ORDERS  OF  ARCHITECTURE, 

METHODISED  AND  ARRANGED  IN  SUCH  A  SIMPLE,  PLAIN,  AND  COMPREHENSIVE  MANNER, 

AS  TO  BE  EASILY  UNDERSTOOD  ; 
EACH  EXAMPLE  BEING  FASHIONED  ACCORDING  TO  THE 

STYLE   AND  PRACTICE   OF   THE   PRESENT  DAY: 

CONTAINING 

ONE  EXAMPLE  OF  THE  TUSCAN  ORDER,  THREE  EXAMPLES  OF  THE  DORIC  ORDER,  THREE  EXAMPLES 
OF  THE  IONIC    ORDER,  ONE  EXAMPLE  OF  THE  CORINTHIAN  ORDER,  AND 
ONE   EXAMPLE  OF  THE  COMPOSITE  ORDER, 

WITH  ALL  THEIR  DETAILS  DRAWN  TO  A  LARGE  SCALE  . 

TO  WHICH  ARE  ADDED, 

A  series  of  designs  for  porticos,  frontispieces,  doors,  windows,  caps  and  sills,  sash-frames,  sa$he3  and 
shutters,  base  and  sur-base  mouldings,  architraves,  chimney-pieces,  trusses 
for  roofs  and  partitions,  stairs,  SfC, 

ENGRAVED  OK 

SIXTY-FOUR  LARGE  QUARTO  COPPER-PLATES. 


THIRD  EDITION 


BY  ASHER  BENJAMIN, 

ARCHITECT, 

AUTHOR  OF  "THE  AMERICAN  BUILDER'S    COMPANION,"  AND  "THE.  RUDIMENTS  OF  ARCHITECTURE." 


BOSTON: 
PUBLISHED  BY  THE  PROPRIETORS  : 

FOR  SALE  BY 

R.  P.  &  C.  WILLIAMS,  18  &  20,  CORNHILL,  AND  RICHARDSON,  LORD  &  HOLBROOK. 

NEW  YORK, 
ELAM  BLISS,  NO.  Ill,  BROADWAY. 


1332. 


Editor's  Note  on  "The  Practical  House  Carpenter" 

This,  the  fourth  of  Asher  Benjamin's  books,  was  published 
sixteen  years  after  the  third,  at  a  time  when  architecture  had 
been  completely  revolutionized  and  to  the  earlier  Colonial 
work  had  succeeded  the  work  of  the  Greek  Revival. 

To  us  of  the  present  day  who  are  not  particularly  inter- 
ested in  the  work  of  the  Greek  Revival  and  to  whom  the  ma- 
terial is  much  more  available  in  its  orginal  form  than  it  was 
to  the  contemporaries  of  Asher  Benjamin,  his  illustrations  of 
the  Orders  are  not  specially  interesting  and  have  therefore 
been  omitted.  Many  of  his  original  designs  in  which  Grecian 
forms  were  used  have  also  been  omitted.  Of  course,  the  old 
gentleman  (he  must  at  that  time  have  been  an  old  gentleman), 
despite  his  professed  sympathy  with  the  Greek  work,  fumbled 
its  motives  most  unskilfully  and  perhaps  little  of  the  work  of 
the  Greek  Revival  which  we  see  in  the  old  houses  of  the  period 
from  1820  to  1840  had  architectural  motives  such  as  doors, 
chimneypieces,  etc.,  as  bad  as  those  which  he  recommends  for 
use.  I  have  chosen  to  illustrate  from  this  volume  therefore,  a 
few  illustrations  only,  those  which  would  serve  to  display  his 
work  in  the  most  favorable  light  and  which  might  perhaps  be 
of  some  practical  benefit. 


116 


PREFACE 


THE  favorable  manner  in  which  my  former  publications  on  Architecture  have  been  received, 
and  the  want  of  a  practical  treatise  on  that  subject,  adapted  to  the  present  style  of  building 
in  our  own  country,  are  the  principal  motives  which  induce  me  to  place  this  work  before  the 

public. 

Since  my  last  publication,  the  Roman  school  of  architecture  has  been  entirely  changed  for  the 
Grecian.  Very  few  things  of  the  same  nature  differ  more  than  the  Greek  and  Roman  creeds  of  the 
orders.  The  Roman  orders  are  chiefly  composed  of  small  and  ungraceful  parts,  and  the  mouldings 
are  made  up  of  parts  of  a  circle,  which  do  not  produce  that  beautiful  light  and  shade,  so  happily  ef- 
fected by  the  Grecian  mouldings.  These  latter  are  composed  of  parts  of  ellipses,  parabolas,  hyper- 
bolas and  other  conic  sections,  and  consist,  mostly  of  large,  bold  parts,  which  are  so  strongly  marked, 
that  each  member  of  the  profile  is  plainly  seen  at  a  very  considerable  distance;  and  can  likewise  be 
executed  with  less  expense  than  the  former.  I  confess  myself  to  be  an  admirer  of  Grecian  archi- 
tecture, yet  I  am  not  disposed  to  condemn  the  general  proportions  of  the  Roman  orders,  none  of 
which,  except  the  Doric,  differ  essentially  from  those  of  the  Grecian.  The  column  of  that  order  was 
generally  made,  by  the  Greeks,  about  five  diameters  in  height;  but  the  same  order  was  generally 
made,  by  the  Romans,  from  seven  and  a  half  to  eight  diameters  in  height.  It  is  therefore  evident 
that  the  latter  proportions  come  nearer  to  our  practice  than  the  former  one,  especially  when  the 
orders  are  used  in  private  houses.  The  members  of  the  Grecian  columns  and  entablatures,  how- 
ever, are  certainly  better  proportioned  to  each  other  than  those  of  the  Roman. 

With  a  strong  desire  to  make  this  work  useful  to  the  practical  builder,  I  have  endeavored  to 
divest  myself  of  any  prejudice  I  might  have  for  or  against  any  school  of  architecture,  and  to  select, 
from  all  the  books  on  that  subject,  those  parts  which  I  thought  would  best  promote  my  object. 

I  consider  it  necessary  that  all  practical  house  carpenters  should  be  fully  acquainted  with  the 
orders  of  architecture,  particularly  those  who  reside  in  the  country,  where  they  have  no  opportunity 
of  consulting  an  architect.  I  have  therefore  been  very  particular  in  the  descriptive  part  of  the 
orders;  which  care,  together  with  that  I  have  taken  in  drawing  and  representing  the  most  difficult 
parts  on  a  large  scale,  will,  I  am  persuaded,  make  them  so  plain  and  easy,  that  a  workman  of  ordi- 
nary capacity  can  make  himself  perfect  master  of  the  orders,  without  the  aid  of  an  instructor;  and 
when  he  fully  comprehends  them,  he  will  be  able  to  understand  the  whole  subject  of  this  book. 

With  a  view  to  render  this  work  completely  a  practical  one,  and  to  facilitate  and  assist  the  ef- 
forts of  master  carpenters,  I  have  drawn  all  the  architraves,  base  and  sur-base  mouldings,  and  all 
other  examples  where  it  was  possible  so  to  do,  at  full  size  for  practice,  and  I  trust  they  will  be  found 
particularly  useful  to  those  carpenters  who  have  not  had  an  opportunity  of  learning  to  draw  architec- 
tural subjects. 


117 


EXTRACTS  FROM  TEXT  AND 

DESCRIPTIONS 


PLATE 


PLATE  25  :  Keystones  and  Balusters. 
PLATE  26:  Vases. 

On  this  plate  are  a  series  of  designs  for  vases.  When  vases  are  used  on  pedestals,  posts  to 
fences,  and  for  such  like  purposes,  their  largest  diameter  may  be  made  equal  to  the  diameter  of  the 
pedestal,  or  post,  on  which  they  are  to  be  placed,  or  from  that  size  to  one  fourth  part  less,  as  judg- 
ment may  dictate.  As  the  heights  and  projections  of  all  the  members  to  each  vase  are  figured  on  the 
plate,  I  trust  that,  by  an  examination,  they  will  be  clearly  understood. 

PLATE  30:  Design  for  Ionic  Portico. 

PLATE  32:  Design  for  a  Dormer  Window. 

On  this  plate  is  shown  a  design  for  a  dormer  window,  suitably  constructed  for  being  placed  on 
the  roof  of  a  building.  It  is  drawn  on  a  scale  large  enough  to  make  it  plain,  without  further  ex- 
planation.   Fig.  1  shows  a  front,  and  Fig.  2  a  side  elevation. 

Figs.  3  and  4,  on  the  same  plate,  show  designs  of  a  species  of  the  guiloche,  which  may  some- 
times be  used  with  good  effect  on  fences,  railings,  etc. 

PLATE  34:  Four  Designs  for  Eve  Cornices. 

PLATES  45,  46,  47 :  Designs  for  Architraves,  Drawn  at  full  size  for  Practice. 
PLATE  49:  Design  for  a  Chimneypiece  formed  suitably  for  Marble. 


118 


ASHER  BENJAMIN 


PL.  25 


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119 


ASHER  BENJAMIN 


JFOK  BUS.  VJL.20 


/}nrUn*&  Smith  'Sc., 


121 


ASHER  BENJAMIN 


123 


ASHER  BENJAMIN 


ASHER  BENJAMIN 


ASHER  BENJAMIN 


PL.  45 

arc  jffljLTKfmi:  S 


129 


ASHER  BENJAMIN 


131 


ASHER  BENJAMIN 


AKCH1T  IEL.WIE  §  . 

P1..47 


133 


ASHER  BENJAMIN 


135 


PRACTICE  OF  ARCHITECTURE. 

CONTAINING 

THE  FIVE  ORDERS  OF  ARCHITECTURE, 

AND 

AN   ADDITIONAL   COLUMN   AND  ENTABLATURE, 

WITH  ALL  THEIR 

ELEMENTS   AND   DETAILS   EXPLAINED   AND  ILLUSTRATED, 

FOR  THE  USE  OP 

CARPENTERS  AND   PRACTICAL  MEN. 
mm  Sftffi  JPlatts. 

Bt  ASHER  BENJAMIN,  Architect, 

'  Author  of  "  The  American  Builder's  Companion,"  "  The  Rudiments  of  Architecture,"  and 

"The  Practical  House  Carpenter." 


BOSTON: 

PUBLISHED  BY  THE  AUTHOR,  AND  CARTER,  HENDEE  &  CO. 
NEW  YORK— COLLINS  &  CO. 


1833. 


Editor's  Note  on  "Practice  of  Architecture" 

This  is  the  fifth  and  last  of  the  books  written  by 
Asher  Benjamin  and  is  in  some  respects  better  than 
the  fourth,  although  it  is  for  the  most  part  a  re-writ- 
ing of  "The  Practical  House  Carpenter."  The  illus- 
trations are  of  slightly  greater  interest  and  I  have 
included  a  plate  of  the  Doric  order  because  of  the 
very  great  difference  between  his  proportion  and  that 
of  the  Greek  order.  The  plates  illustrated  are  again 
few  and  were  selected  for  the  same  reasons  which 
obtained  in  the  selections  of  the  fourth  volume;  there 
seemed  to  be  no  particular  reason  to  include  a  number 
of  illustrations  of  work  with  which  we  are  all  famil- 
iar in  the  original,  simply  because  they  were  redrawn 
a  century  ago.  I  have  included  also  fragments  of  the 
text  because  of  the  light  they  show  on  the  practices 
and  principles  of  architects  during  the  early  part  of 
the  nineteenth  century. 


138 


PREFACE 


I HAVE  endeavored,  in  this  Treatise,  to  avoid  a  defect  which  is  very  generally  complained  of  in 
books  of  this  kind;  that  is,  a  want  of  particularity  in  the  details,  and  of  a  clear,  simple  explan- 
ation of  them.  In  cities,  where  Architects  are  always  at  hand,  this  deficiency  is  not  so  much 
felt;  since  the  Carpenters  there  stand  in  need  of  no  further  knowledge  upon  the  subject,  than  such  as 
may  enable  them  to  put  into  practice  the  drawings  furnished  by  the  Architect.  But  in  villages,  the 
case  is  different.  Those  Carpenters  in  country  villages  who  aspire  to  eminence  in  their  business, 
having  no  Architect  to  consult,  are  under  the  necessity  of  studying  the  science  thoroughly  and  without 
a  master.  To  them,  therefore,  is  this  book  peculiarly  adapted;  for  it  contains  the  principles  of  many 
expensive  folios,  condensed  into  a  narrow  space  and  applied  to  modern  practice. 

The  time  has  been,  within  my  own  recollection,  when  New  England  did  not  contain  a  single 
professed  Architect.  The  first  individual  who  laid  claim  to  that  character,  was  Charles  Bulfinch,  Esq., 
of  this  city;  to  whose  classical  taste  we  are  indebted  for  many  fine  buildings.  The  construction  of 
the  Franklin  Street  houses,  of  which  that  gentleman  was  the  Architect,  gave  the  first  impulse  to  good 
taste;  and  Architecture  in  this  part  of  the  country  has  advanced  with  an  accelerated  progress  ever 
since.  But  though  Architecture  has  certainly  improved,  and  rapidly,  too,  within  late  years,  a  large 
proportion  of  the  vast  number  of  buildings  which  meet  the  eye,  of  all  classes  and  sizes,  and  con- 
structed for  all  purposes,  are  totally  destitute  of  architectural  taste.  This  defect  does  not  arise  from 
parsimony;  for  it  is  not  uncommon  to  see  buildings  of  large  dimensions  burdened  with  a  profusion 
of  expensive  and  misplaced  finery,  which  forms  anything  but  ornament.  Buildings  of  this  class,  which 
under  skilful  hands  might  have  become  proud  monuments  of  public  taste,  are  mortifying  and  repulsive 
objects  to  those  who  take  an  interest  in  the  science  of  Architecture. 

It  has  been  too  prevalent  a  habit,  among  those  who  would  not  think  themselves  capable  of  in- 
structing a  Carpenter  in  the  art  of  planing  or  sawing  boards,  or  a  bricklayer  in  laying  bricks,  to 
undertake  the  much  more  difficult  task  of  becoming  their  own  Architects.  The  consequence  is,  that 
such  persons  proceed  to  build  without  any  fixed  system;  unlooked  for  difficulties  are  soon  encountered, 
which  lead  to  expensive  alterations,  and  the  harmony  of  the  buildings  is  destroyed.  Nor  is  this  evil 
confined  to  private  buildings.  The  committees  selected  to  superintend  our  public  edifices  are  apt  to 
cramp  the  invention  of  the  Architect  by  their  economy,  or  pervert  it  by  their  fancies;  so  that  speci- 
mens of  the  taste  of  some  member  of  the  committee  can  usually  be  discerned  by  a  skilful  eye,  among 
our  most  scientific  compositions.  But  the  evil  is  certainly  decreasing.  Knowledge  of  the  science  is 
rapidly  gaining  ground,  and  the  increased  attention  attracted  towards  the  subject  disposes  those  who 
have  not  the  necessary  information  to  confide  in  those  who  have. 


139 


PLATE  TITLES 


1     PLATE  10  :  Doric  Order  with  the  Shaft  Diminished  in  the  Roman  Style. 
PLATE  1 1 :  Details  of  Doric  Entablature. 
PLATE  30:  An  Example  of  an  Ionic  Portico. 
PLATE  32:  An  Example  of  a  Composite  Portico. 
PLATES  33-34-35-36:  Examples  of  Cornices. 

PLATE  38:  Twelve  Examples  of  Architraves,  drawn  one  half  full  size. 

'*  4  PLATE  44:  Six  Examples  of  Base  Mouldings,  drawn  one  half  full  size. 

PLATE  45:  Two  Designs  for  Surbase  Mouldings,  drawn  one  half  full  size;  An  Ex- 
ample for  a  Baluster  and  Three  Examples  for  Vases  of  Different  Forms  and 
Proportions. 

PLATE  46:  Ornamental  Mouldings. 

PLATES  53-54:  Elevations  for  a  Church. 

PLATE  56:  An  Example  of  a  Pulpit. 


140 


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GETTY  CENTER  LIBRARY 


3  3125  00720  1904 


